Pandit Rajeev Taranath, who has been bestowed with the honour of chairing the 39th Sangeeth Sammelan of the Gayana Samaja, Bangalore, has carved a niche for himself in the world of classical Hindustani music. A brilliant student of literature — who is well-versed with both Kannada and English literature — Taranath with his sharp intellect and felicity of language, would have made a mark in the field, but he chose to be a professional Sarod player. After listening to celebrated Sarod maestro Ali Akbar Khan at the age of 21, Taranath decided “that was it,” and became Akbar Khan’s one of the most dedicated disciples. He also profited from his association with Pandit Ravi Shankar and Annapoorna Devi. Today, Dr Taranath, at 74, is one of the most sought-after performers across the world. After teaching at the California Institute of the Arts for a decade, he has returned to Bangalore, but remains a “wandering magician” with a Sarod in hand who holds the audiences spell-bound. Excerpts from an interview:
 
Considering that Gayana Samaja has a great history of over a hundred years, what does this honour mean to you?

I hold Gayana Samaja in great respect. Naturally, I am glad. I’m thankful as this is some sort of recognition. You are not terribly excited about anything when you are 74. But of course, this is a great honour as I have grown among the people of Bangalore and spent many years here.

What kind of influence did your father Pandit Taranath have on you in your formative years as a musician?

My father and I were intense associates, though he died when I was nine. It almost seemed he knew what he wanted to give me. He taught me first tabla, he had other people to teach me. He was a mesmerising speaker and a great human being.

In the 1950s what prompted you to take up Sarod, which must have been an unusual decision?

I had the opportunity of listening to Ali Akbar Khan at a young age and I saw romance in his playing of Sarod. It was like a Hindi film and that’s why I am not contemptuous of Hindi films. I had secured first rank at the Central College and even joined the same college as a lecturer. But within five months I left the job and went to study music under Khansaab.

What was the experience like?

Working and learning under him was tough and also memorable. When you stand under the Mt Everest, what’s the experience like? If there is an avalanche hurtling down, it could be tough. But if the sun is shining on that, things are ok...

An interesting feature of Karnataka is that the confluence of Carnatic and Hindustani music is more pronounced here. What could be the reason?

I think it has something to do with history. Also, because of the generosity of our people. It’s a unique character my people here had, do they still have, I don’t know. Because of this generosity, they learnt this music (Hindustani) so well that today, arguably — certainly the vocal music — they have preserved it in a pure form in Karnataka, which might not be true of the same music in north India, although there could be more brilliant musicians there.

Generosity, which could also be partly the result of something else... Karnataka having been part of Maharashtra, Tamil Nadu, etc was something to be very proud of... but today we paint boards in English or Tamil with tar or charcoal and that’s what we have come to... We are the same people, who recognised Bendre as our thought poet, Masti Venkatesha Iyengar as top notch short story writer, also recognised Girish Karnad. These were non-Kannada speaking people. It could happen only in Karnataka. You name any other language, it might at best allow a person who’s good in that language, they might accept him, but they will not crown him as the king of that language. Karnataka did it. To me it is the symbol of generosity, which is the result of great self-confidence... The same Kannada people, what are we doing now.. Look at the fate of Thiruvallavur statue in Bangalore. What fault has this Valmiki rishi done. I want all of us to think about it.

You have been an ambassador of Indian music abroad for many years now. Do you see the appreciation for Indian music growing?

There are sparks here and there. On the whole, the people (abroad) are much more honest. Of course, there is a space for Bush also, but in general, there is much less fear in the middle-classes. Here, the violence is just behind whatever we do. “I will break your teeth is an acceptable way.” Therefore we have more lies, more falsehood. One example I can give is that in San Fransisco, I personally know nine people who have taken every class of this guru for 40 years. He doesn’t give any certificates, but they remain his students.

Indian music is limited to certain niche audiences. Is it ever possible to take it to the masses across the world?
Most probably not. The classical music in any place is rule-bound. The relationship between the singer and the listener is very important. The audience knows what to expect. But, what they look forward to is excellence in rendering. People can be sensitised to music, but I don’t think it can reach out to the masses.

Is there a socio-political reason why Western music dominates the world? It can attract 1,00,000 people even in Japan or China without any language barrier?

Anything which is a rage in the United States, has every chance of dominating the world. The US predominance is present in everything. Even in the fields of fashion and music. Only their football and baseball have not become popular as traditional football has already gained roots everywhere.